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This paper examines Giacomo Puccini's third and final part of Trittico, Gianni Schicchi, 1918 (libretto by Giovacchino Forzano). Since the opera is based on an episode mentioned in Dante's Inferno XXX 31-45, the paper analyses its direct and indirect references to the Divine Comedy. Considering this, the paper more globally reevaluates Puccini's relationship toward Dante and his works. Through an analysis of new documents, I suggest that the composer's valorization of the Dantean source material was more prominent than has previously been sustained. [ABSTRACT FROM AUTHOR]

This essay proposes an interpretation of the "Cantico del gallo silvestre" in light of Giacomo Leopardi's knowledge of Hebrew. His study of the language of the Old Testament, his translations of its texts and the many notes regarding it in the Zibaldone offer the grounds to reinterpret both the operetta's title and its introduction as Leopardi's attempt to recreate his own sacred text, by means of a precise and focused linguistic imitation of the features identified as peculiar to Hebrew itself. Finally, to further understand the depth of the linguistic research accomplished, the paper offers a comparison between the "Cantico" and other Leopardi falsifications and apocrypha. [ABSTRACT FROM AUTHOR]

Starting from the analysis of a cycle of sonnets neglected by criticism (Rime 126-130), this paper aims to demonstrate the meaning of the private themes in Bembo's lyrics with regard to the historical context of the first thirty years of the XVI century, in connection with the uncertainty generated by the Italian Wars as well as with the role of intellectuals and writers in Renaissance society. All of the texts are tied to a precise moment, the year 1526: the extremes of the sequence are two civic-political sonnets, addressed to Clemente VII and his datary Giberti, while the central texts are dedicated to the theme of friendship and to la Morosina's illness. The series appears particularly uneven, even more so because of its position just behind the ending of the amorous canzoniere and before the spiritual texts; however, the sonnets are bound together by the theme of fortune and history, in which is rooted Bembo's idea of the love lyric. The paper proves that this thematic thread hints at an articulated discourse about poetic autonomy, grounded in the Latin classics, which represent the true substrate of Bembo's poetry. The study of the sources and of the macrotext confirms the importance of Propertius and Horace in the Rime: specifically, in the Venusian poet Bembo identified a point of reference for the definition of the writers' position vis-à-vis power and for the idea of constructing a monumental work, capable of making eternal not only the memory of its author but also that of his friends, lovers, and lords who are involved in the verses; in Propertius, instead, he saw an example for the treatment of the amorous theme in poetic discourse. [ABSTRACT FROM AUTHOR]

Starting from two recent publications on Theophilus Folengo, «O macaroneam musae quae funditis artem» and the tenth issue of the journal Quaderni folenghiani, the paper takes stock of the latest advances in Folengo studies and on new perspectives in this research field. Specifically, the article investigates the interpretations of Baldus and the studies of the different redactions of the macaronic poem, such as those by Mario Chiesa and Luca Curti, the latter of which focuses on the third redaction of the Macaronee. [ABSTRACT FROM AUTHOR]

This paper proposes a critical edition of an anonymous and unpublished poem in praise of Caterina Cornaro (1454-1510), taken from the manuscript Bergamo, Biblioteca Comunale "Angelo Mai", Cassaforte 3 01 (copied between 1490 and 1510). Some textual and biographical elements would lead to assigning the operetta to Giuliano Perleoni, known as Rustico Romano, chancellor of the King of Naples, Ferdinand of Aragon, and author of the Perleone (Naples, for the types of Aiolfo de Cantono, 1492). [ABSTRACT FROM AUTHOR]

This paper offers an analytical study and a commented critical edition of Era di stelle il cielo ancor dipinto, an anonymous song on poverty included in the manuscript 222 of the Beinecke Rare Book and Manuscript Library at the Yale University. In particular, it aims to both place the poem in its fourteenth-century context (especially the tradition of the theme of poverty in lyrical poetry) and define the profile of its author, identifiable as Fazio degli Uberti on the basis of internal and external evidence. [ABSTRACT FROM AUTHOR]

This paper focuses on the influence exerted by the Corbaccio on the criteria for the representation of the world and men in Eyes Shut by Federigo Tozzi. Particularly, the possible derivation of the novel's title from a passage of the dedication to young people at the conclusion of Boccaccio's treatise is highlighted. The findings provide a further contribution to the definition of the medieval culture of Tozzi and they raise, together with other clues, some perplexities regarding family testimonies related to the time and manner when the novel was written. [ABSTRACT FROM AUTHOR]

The aim of this work is to examine the relationship between the last five cantari of Morgante by Luigi Pulci and the rhymed versions of Spagna. in relation to the paper written by Pio Rajna about the Rotta di Roncisvalle, the presence of many sources has been confirmed, but there is a clearer focus on how many sources there are and how they are employed. [ABSTRACT FROM AUTHOR]

The paper highlights several salient points from the new edition of the thirteenth century Sienese vernacular translation of Egidio Romano's De regimine principum. [ABSTRACT FROM AUTHOR]

The essay offers a detailed analysis of Foscolo's manuscripts of Epoche della lingua italiana III-VI, conserved at the Biblioteca F.D. Guerrazzi in Livorno; through this analysis some significant information emerges concerning the editorial history of the articles in question, including the presence of a previous draft of the same articles on the back of these manuscript papers in Livorno (which this essay reorganizes), and some elements that deepen and clarify the relations between these articles and contemporary writings, namely the Discorso sul testo della Commedia di Dante and the Discorso storico sul testo del Decamerone. [ABSTRACT FROM AUTHOR]

The opera Le nozze in sogno (text by Pietro Susini; music by Antonio Cesti, first performed in 1665 in Florence) takes place in the multilingual city of Livorno. The opera's characters use different languages, including stately Italian, comic Tuscan, lingua ionadattica, cant, Sicilian, Calabrian, and Judeo- Italian. This paper focuses on the character of Moses, a Jewish sorcerer, who is associated with strong anti-Semitic sentiments. The analysis reveals that Moses speaks neither the Judeo-Spanish nor the Judeo-Italian peculiar to Livorno; rather, he speaks in Judeo-Roman. Why was this choice made? The final part of the essay looks into possible reasons by examining previous uses of Judeo-Roman for Jewish stock characters and by considering the relations between the grand ducal government and the 'Jewish Nation'. It also highlights the internal conflicts within the Jewish world of Livorno. [ABSTRACT FROM AUTHOR]

In this paper we propose a rereading of the eleventh chapter of The Prince, starting from the eulogy of Leo X that marks its conclusion. the goal is to comment on this excerpt, seeking to explain its function within the overall economy of the Prince and to shed light on the historical background of the chapter itself, while focusing a final brief section on the protagonist of the concluding eighteenth paragraph, Leo X. For this purpose, the correspondence between Machiavelli and Vettori in 1513-1514 becomes a fundamental instrument. [ABSTRACT FROM AUTHOR]

The paper aims to propose a new reading of Giorgio Caproni's Cronis-toria beginning with the description of his macrotext and the changes it undergoes between the princeps and the definitive edition. In particular, the analysis of the variants relating to the order of the texts and their sources (above all Ariosto and Virgil) manifests the evolution of the bond between personal experience and historical context in the author's poetry between the 1940s and the 50s, and the progressive strengthening of the relation between Cronistoria and his next book, IIpassaggio d'Enea. [ABSTRACT FROM AUTHOR]